I was kindly asked by Maddy and Jay to take part in a blogathon surround World War II in film. I chose the film Carve Her Name with Pride to highlight.

Based on the true story of Violette Szabo, an SOE agent in World War II who parachuted behind enemy lines and was eventually captured and executed by the Nazi’s( and then received a posthumous George Cross for her bravery), Carve Her Name with Pride is a well directed tribute to the bravery of this woman in wartime.

Early in the Second World War, spirited Violette Bushell is living in London. Her father is English and her mother is French, which accounts for her language skills. One day she meets French Army officer Etienne Szabo and the two quickly fall in love. After marrying, Violette discovers she’s pregnant, but Etienne is called back up to serve in North Africa. Tragically, Violette receives word that Etienne was killed in battle a few months later. She is devastated by the death of her beloved who never had the chance to see his daughter Tania. After his death, she shuts off as a way to deal with her grief. When she returns to life again, something unexpected lies waiting for her. To her surprise, she is asked to join the SOE to help the war effort. Due to her athleticism and bilingual skills, she’s an ideal candidate. Although apprehensive at first, Violette accepts out of a sense of duty. She is trained in the art of espionage and though makes mistakes at first, shows her mettle and willingness to learn. Soon enough, she’s one of the finest recruits and ready for a mission. Her first mission in Occupied France is successful as she makes contact with the remaining members of Resistance loyal to the SOE and helps persuade one to blow up an important viaduct. Along the way, she becomes close with fellow agent Tony Fraser and opens up a bit more. It’s her second and last mission mission that proves to be fatal and tragic, though she refuses to give up any information to the enemy right up until her death.

Lewis Gilbert crafts Carve Her Name with Pride with unobtrusive skill and salutes the bravery of this woman and her strength for her country. As a film, it doesn’t over sensationalise events, rather presents them in serious but absorbing detail in a way that’s dignified and convincing. Foreshadowing is heavily present throughout with various lines of dialogue gaining more relevance as Carve Her Name with Pride continues. The first hour provides the build up to the first mission with the main events that lead to Violette joining by showing events in a brisk and economical fashion, without feeling too quick or too slow. Gilbert’s on form is bringing the foreshadowing of what’s to come and truly comes alive once the missions start. We glimpse how dangerous being a spy is and the moral dilemma of Violette in knowing that every minute could be her last . This helps it build to a powerful climax that’s hard to agass from your thoughts. The black and white presents events with a certain realism that’s pretty impressive and never loses sight of the serious dangers involved in spying and Violette’s immense dedication. As we know the eventual fate of the main character, a level of gloom is apparent. But it never overshadows things and makes them constantly miserable, rather it is more inspiring to watch someone do something to help their country in its time of need. An emotive score highlights the ups and downs of War and how events can take sharp turning points for those trying to help.

The ace in the hole is Virginia McKenna as Violette; she’s simply wonderful in the part. Getting across the gumption, selflessness, toughness and vulnerability, McKenna shines with her moving delivery and authentic honesty. It’s hard to picture someone else playing Szabo quite as accomplished as Virginia McKenna does or with the same blend of warmth and determination. She’s simply that good and embodies the British way of doing things in a quiet and dignified manner but making one hell of an impact. Paul Scofield compliments her as the agent who knows when to switch off emotions but still retain some level of heart. He’s nicely paired with McKenna and works splendidly and with ease beside her. Jack Warner and Denise Grey have small but nicely judged parts as the parents of Violette, who become concerned at their daughter’s secrecy. Look out for a small but funny role from Bill Owen as one of the training officers who begrudgingly acknowledges the talent of Violette. The biggest highlight though is Virginia McKenna, who is simply unforgettable.

A sober, extremely well mounted and acted war drama that truly honours its subject thanks to Lewis Gilbert’s nuanced direction and Virginia McKenna’s beautiful performance, Carve Her Name with Pride is an excellent tribute to the strength and sacrifice of one very brave woman.

In this adaptation of the classic William Shakespeare tragedy, Franco Zeffirelli assembles an unexpected but engaging cast and directs with vigour and atmospheric skill in an attempt to show an individuality from other versions of the play. And he certainly does a good job of it.

The film begins with the funeral of Hamlet’s father, the King of Denmark. Hamlet’s mother Gertrude is saddened but seems a little too close to her late husband’s brother Claudius. Surely enough, the two marry soon after and Claudius becomes king. The young Prince Hamlet is puzzled by this courtship at first, but information regarding the sudden remarriage soon comes his way in eerie fashion. One night after hearing from his trusted friend Horatio that an apparition has been wandering around the castle at night, he is visited by the ghost of his father, who informs him that he was murdered by Claudius so he could take the throne. Hamlet swears revenge on his uncle and descends into madness as he attempts to complete the murderous task.

The first thing to note in Hamlet is the visual style. Dark and hushed shades of blue over the castle, which are juxtaposed with glaring images of sun capture the themes of life and death and the complementary nature of each. The camerawork is stunning as it glides around the surroundings and quite often nestles close to a character, this technique is especially useful and full of impact when Hamlet delivers monologues. Ennio Morricone provides the atmospheric and melancholy music, giving Hamlet a gloomy and suspenseful edge. What many purists will take issue with is the removal of certain parts of dialogue and the transference of certain pieces into different scenes. Yet, with this the film has a strong pace and in some ways makes it more accessible to those unfamiliar with the play. Only at certain times does the removal of parts of dialogue cause Hamlet to lose its way.

Heading the cast is Mel Gibson as Hamlet. At first I wasn’t sure that Gibson would fit the role of Hamlet, but surprisingly he makes the role his own. He contributes vigor, sadness and madness to the part as Hamlet becomes more vengeful and his delivery of dialogue is excellent. Unlike many who portray Hamlet as constantly brooding, Gibson has more fun with the role by adding intelligence and a playful smile which eventually gives way to sinister grins . Glenn Close is effectively cast as Gertrude who changes from grieving widow into a sexually liberated woman after marrying Claudius. The scenes between Close and Gibson are interesting to watch because of the ambiguous nature of their relationship. This unusual examination of mother-son relations adds dimension to the story and adds an edge to the classic piece by giving it more dramatic prominence. Alan Bates makes for a quietly villainous Claudius, whose scheming is masked by a courteous exterior. Helena Bonham Carter brings deep sadness to the role of the tragic Ophelia, whose treatment at the hands of Hamlet sends her spiralling out of control. The sight of her bare foot, chanting old love songs with wild eyes and mournful voice whilst wandering around the castle is a chilling sight to behold. Ian Holm makes for an intelligent Polonius, while Paul Scofield gives wisdom to the part of the King’s ghost. In supporting roles, Stephen Dillane and Nathaniel Parker are wonderfully effective in the parts of Horatio and Laertes.

Liberties taken with the text aside, Zeffirelli makes a vigorous movie of Hamlet that adds another spin to the classic tragedy.

Scripted by Arthur Miller from his acclaimed play and directed with fervent energy by Nicholas Hytner, The Crucible captures a palpable atmosphere of fear and hysteria during the Salem Witch Trials. Powerfully acted and emotionally intense, it makes for memorable viewing.

1692 Salem, Massachusetts. In the early hours of the morning a group of girls sneak into the woods for a strange ritual with a Barbadian slave, Tituba. The gathering appears innocent enough, with the girls wishing for various boys in the village to love them by scattering offerings into a pot. One of the girls, Abigail Williams, wishes her former employer who put an end to her affair with her husband,dead and kills a chicken. This causes the girls to whip up a frenzy by wildly dancing and chanting. They are then discovered by Abigail’s uncle, Reverend Samuel Parris. Then eerily, two of the girls involved fall into deep comas and gossip spreads like fire through the puritanical village that it is the devil’s work and that witchcraft is involved. Panicking, Abigail claims that Tituba was working with the devil and that it possessed the group. It is here that events take a sinister turn, as Abigail realises the power that she wields. She, influencing the other girls, begin to name member of the village they ‘saw’ practicing witchcraft. One of those named is Elizabeth Proctor, the good wife of John who had the affair with Abigail when she was a servant. Mass hysteria ensures as more names are accused and the village begins to tear itself apart with fear and uncertainty. Caught up in this commotion are John, who realises how much trouble is being caused as a result of Abigail’s lies, his saintly wife, the judge who has the difficult decision to make and Abigail, the instigator of this hysteria.

Nicholas Hytner should be praised for conjuring up an atmosphere of religious fear and panic as the residents turn on each other and the village takes on an almost mob mentality. What he excellently captures is the snowball effect of lies and how the word of one person, without a shred of proof, can have a corrupting influence on those around whose minds are clouded with uncertainty. Arthur Miller, writing from his own play, cleverly shows the parallels between the trials and the McCarthy era witch hunts in the time the play was written. The musical score is exceptionally used to highlight the divided and fearful emotions as the narrative plays out.

What really makes The Crucible compelling viewing is the cast assembled. Daniel Day-Lewis as John Proctor turns in a typically intense performance as his character begins to see the repercussions of his dalliance with the spiteful Abigail. As the catalyst of the story, Winona Ryder is manipulative, conniving and wounded as the vixen like Abigail, who is out for vengeance as she still carries a torch for John. Her feverish emotions are a particular highlight as we watch her manipulate the village and point the finger at the innocent people with a mendacious fervour. Paul Scofield is one of the highlights from the supporting cast, making his judge character a powerful and imposing presence as he debates what to make of the mass hysteria engulfing Salem. Embodying a quiet stoicism and sincerity, Joan Allen shines as the innocent Elizabeth, the one who incurred the wrath of Abigail and is now seeing what the lying girl is capable of. Bruce Davison and Rob Campbell appear as just some of the many caught up in this circular time of fear and blaming. The only quibble I had with The Crucible is that sometimes the pacing lulls and the narrative slows. But when the story hits the emotional heights it really soars as a dramatic study of fear, vengeance and unforseen consequences.

Powerfully, emotionally raw and at times disquieting, The Crucible is an excellent adaptation of an acclaimed play that boasts terrific performances and the right amount of period atmosphere.